Norman Brown Storms the Stage at Ram's Head

The first time I saw Norman Brown perform was at the Capital Jazz Festival in Ft. Meade, Md., in 1996.  He was riding the wave of the success of his then latest CD release “After the Storm.” During that time, I had been honing my skills as a smooth jazz guitarist and was taking in the styles of any and every major guitar player who was on the scene.  I had just formed my band “Simpatico” and after months of practice. I had finally gotten down an almost note-for-note duplication of his guitar work on his hit cover of Janet Jackson’s “That’s the Way Love Goes.”  I loved his version of that tune and I really thought that I had reached new heights after learning to mimic this new cat on the block.  Our band had reached a level of proficiency that truly made me proud, and even a little cocky.  Then an almost devastating thing happened.

I heard Norman Brown play it live.

I learned a big lesson that hot summer day, sitting on the lawn, watching the spectators stare in awe at his fingers flying up and down the fretboard with seemingly effortless precision. I remember thinking to myself, “Holy smoke! I’ve got a lot of work to do.”

So I kept playing and practicing and trying to get better.  Playing the guitar is such an incredible journey; you never, ever, get good enough.  The more you learn, the more you find out how much you really don’t know.  And the more you discover how much you don’t know, the more you learn how to apply what you do know to achieve what you don’t know.  It is truly an amazingly beautiful and wonderful thing.

Last Sunday, I saw Norman perform at the Ram’s Head Tavern in Annapolis for the first time after all those years.  Let me tell you, he was very good in 1994, but what I saw before me last Sunday night was nothing short of phenomenal.  Brown maintains a sincerely easygoing stage presence and immediately engaged the crowd with his passion for the music, displaying the talent that has allowed him to reach a level of excellence that truly places him in the category of what I consider “greatness” as a jazz guitarist.  I believe he has reached his time to be recognized as such.

The crowd was lively and upbeat as he played fan favorites from previous albums as well as some of his new stuff. He also introduced his daughter, Rochella Brown, who is an excellent singer in her own right.  Opting to go wireless for the small venue, he wandered through the crowd giving everyone an up-close and personal view of his tireless fingers moving with lightning speed up and down the guitar’s neck for what seemed like forever.  Toward the end of the show, he did various guitar impressions that included George Benson, Wes Montgomery and Jimi Hendrix. It was a spectacular performance.

If you have never seen Norman Brown perform, or if the last time you caught one of his shows was over ten years ago, you had better go see him again. He is truly a “great” guitar player.

G.

Correction - Big shout-out to my good friend, Janet. She is a friend of Norman and his family, and quickly alerted me to the error that my original post of this story referred to Norman's daughter as "Michelle" instead of "Rochella." My apologies to all.  Journalism 101 - Check and double check your facts!  Thanks, Janet!

The Heart of My Guitar - Part 6: Summer of '74

In 1974, America was still reeling from the racial chaos that had only a few years ago swept throughout the country.  The sixties had changed everything.  Some people were relieved, some were angered, and some were inspired while others were doomed to pessimism.  Whatever the case, everyone was affected.  Throw in the controversy surrounding the Vietnam War and it’s a wonder folks got along at all.  The one good thing that resulted from all that tension was the evolution of some of the best music the world has ever known.

Ask anyone who grew up during that era; music was the most important thing in America (second to rampant indiscriminant sex, and an unrelenting desire to find new ways to get high).  Every genre of music saw a heightened sensitivity directed toward making sense of why so many people could be so severely against the idea of treating each other fairly.  At fourteen years old, I surely didn’t understand it.  All I wanted to do was play music. 

The music of that era seemed to be the only thing that got people to chill out and ignore the craziness of it all. During the riots, James Brown was scheduled to give a live concert in Boston, a city that, at that moment in time, had become a powder keg of racial unrest.  The mayor had arranged with Brown to show a live television broadcast of the concert, knowing that because Brown’s popularity was at such a high point, there would be virtually no chance that anyone would be angry enough to go out rioting and miss the rare opportunity to watch J. B. do his thing for an entire program.  The strategy worked, and some people credit Mr. Brown for “saving Boston” from total mayhem. *

I was still in junior high when my band started playing in clubs and bars.  Somehow, two “managers” had found out about us and had convinced us that we were going to be the next big thing.  I recall being all excited at the fact that they had printed up business cards for us.  One day, while listening to one of the local R&B stations, I heard the deejay advertising that our band would be featured as the live entertainment on Baltimore’s local party ship, “The Port Welcome.” I think we each got paid twenty-five dollars for that gig. Oh yeah, we knew we were stars then. But as is the case with most beginners in the music business, we too, eventually discovered that all is not fair in love and music.

G.

*Ironically, rumor has it that after the concert, Brown had accused the City of Boston of failing to uphold its financial end of the deal regarding the City’s multiple rebroadcasts of the concert, which apparently Brown had explicitly addressed in the original agreement.  Although Brown eventually conceded to a settlement, it has been said that Brown was hurt by the alleged breach, and was forever disillusioned by his belief that the City of Boston had not dealt squarely with him. 

(This is the sixth installment of a continuing story).

Coming soon, Part 7, “Black and Blue”

Blind Genius - Missing Ray Charles (September 23, 1930 – June 10, 2004)

It was a very sad day for me when Ray Charles passed away seven years ago today. 

After you reach a certain age, such events don’t sneak up on you or surprise you anymore.  When you know that you are living during an era that includes the likes of a Ray Charles, you see them getting older, you reflect on the life they lived, and you begin preparing yourself for the fact that someday, we won’t have them amongst us anymore.  I have also found that I will miss certain music artists, like Ray, long after they are gone, almost the same way I miss a relative or close friend.  I feel so blessed to be able to look back over the course of my life and connect so many magical moments to so much beautiful music that I have loved - created by people like Ray Charles.  

His music is so sincere, so pure, and so powerful that you really couldn’t ignore it even if you tried. I mean really, do you actually know anyone with even the slightest amount of musical maturity who would say that they simply don’t like Ray Charles?  And if you do know someone like that, I’ll bet you would find that they probably don’t like chocolate ice cream or little babies, either.

Thanks, Ray.  It was a privilege to have grown up with you.  You provided such a major part of the musical score that has been the backdrop to the story of my life. Right on, Brother Ray.

Check out this once in a lifetime video of Ray Charles performing Living for the City with Stevie Wonder.  People toss the term “musical genius” around way too often.  Watch this video and learn the true meaning.

       Okay, let’s get to the quiz!      

       1)      What is Ray’s original birth name?

       2)      Where was Ray Charles born?

       3)      True or False: Ray Charles was not born blind.  He lost his sight as a young boy.

       4)      Ray performed in what major movie box-office smash that made its debut in 1980?

       5)      True or False: Ray Charles had no formal musical training.

Interesting Facts About Ray Charles –

      

            a)   Ray moved to Seattle in 1947 (where he first met and befriended a 14 year old Quincy Jones  and soon recorded his first hit, "Confession Blues" in 1949. The song soared to #2 on the R&B charts.

b)      After his mother died in 1945, Charles was 15 years old when he was living in Jacksonville, Florida with a couple who were friends of his mother. For over a year, he played the piano for bands at the Ritz Theatre in LaVilla, earning $4 a night.

c)       In 1979, Charles was one of the first of the Georgia State Music Hall of Fame to be recognized as a musician born in the state. Ray's version of "Georgia On My Mind" was made the official state song for Georgia.

d)      In 1981, he was given a star on the Hollywood Walk of Fame and was one of the first inductees to the Rock & Roll Hall of Fame at its inaugural ceremony in 1986.

QUIZ ANSWERS:

Okay, let’s see how you did!

      1)      Ray Charles Robinson – Early on in his career, he began going by “Ray Charles” so that he would not be confused with Sugar Ray Robinson.

      2)      Ray was born in Albany, Georgia.  However, most of his younger years were spent in Greenville, Florida.

      3)      True.  Ray Charles began losing his sight at age 5. By age 7, he had lost all of his vision due to glaucoma. During those days, there was no treatment for this disease.  Since then, there has been significant progress in slowing its degenerative effects, but there is still no cure for glaucoma, and there has still been no conclusion drawn as to what causes it.

      4)      The Blues Brothers. (If you didn’t get that one then I am banning you from my page for one day).

      5)      False.  As a boy, Ray Charles was trained to play only classical music. He attended school at the Florida School for the Deaf and the Blind in St. Augustine from 1937 to 1945, where he developed his musical talent.

So you got them all right, huh? Congratulations!

(But honestly, don’t get all full of yourself.  This one really wasn’t that hard).

G.

All information gathered courtesy Wikipedia

This Week in Music History

Interesting Happenings in Music History

5/29/1987 - Michael Jackson attempts to buy Elephant Man's remains

5/31/1969 - Stevie Wonder releases "My Cherie Amour"

Stevie wows them again. Watch in wonder.

Birthdays

5/24/1956 - Larry Blackmon, funk-R&B (Cameo-“Word Up!)

5/29/1953 - Danny Elfman, LA Calif, composer (Simspon Show Theme)

5/29/1950 - Rebbie [Maureen] Jackson, Gary Indiana, singer (R U Tuff Enuff)

5/30/1909 - Benny Goodman, Chicago, clarinetist/bandleader (King of Swing)

6/02/1944 - Marvin Hamlisch, NYC, composer/pianist (Sting, Chorus Line)

6/03/1906 - Josephine Baker, dancer/singer/actress, French performer (Moulin Rouge)

6/03/1927 - Boots Randolph, Paducah KY, saxophonist (Yakety Sax)

6/03/1930 - Dakota Staton, [Aliyah Rabia], Pittsburgh, PA - Jazz singer (In the Night)

6/03/1942 - Curtis Mayfield, Chicago, Singer-songwriter/vocalist, guitarist (People Get Ready, Superfly)

May we never forget the contributions of this man. Here, Curtis gets a little help from Taylor Dane and David Sanborn in a clip taken from the now defunct "Sunday Night" jazz program.

6/03/1950 - Deniece Williams, Gary, IN, singer (Let’s Hear It For The Boy)

6/04/1937 - Freddie Fender, San Benito, Texas, country singer (Wasted Days and Wasted Nights)

6/04/1945 - Anthony Braxton, Chicago, Il – Saxophone, avant-garde jazz musician

6/04/1961 - El Debarge, Detroit, Mich, R&B singer (Debarge-All this Love)

Deaths

5/28/1996 - James George "Jimmy" Rowles, jazz pianist, dies at 77

5/30/1993 - Sun Ra, (Herman S Blount), jazz pianist (Solar Arkestra), dies at 79

5/30/1977 - Paul Desmond, US jazz saxophonist, Dave Brubeck Quartet, dies at 52

6/01/1991 - David Ruffin, R7B singer (Temptations), dies of drug overdose at 50

6/01/1996 - Don Grolnick, jazz musician, dies at 48

6/02/1987 - Andres Segovia, Classical guitarist, dies

6/02/1987 - Sammy Kaye, orch leader (Sammy Kaye Show), dies at 77

6/02/1997 - Doc Cheatham, jazz musician, dies at 91

On 6/04/1916 - Mildred J Hill, composer/musician (Happy Birthday To You), dies at 56

Did you know?

·         "Happy Birthday to You" first appeared in print in 1912 using the melody of "Good Morning to All" with different lyrics.^[2] Its popularity continued to grow through the 1930's, with no author identified for the new lyrics, nor credit given for the melody from "Good Morning to You". Based on 1935 copyright registrations by the Summy Company, and a series of court cases (which all settled out of court)^[3], the sisters became known as the authors of "Happy Birthday to You". The Hill Foundation today shares royalties on public performances of the song.

Hill and her sister were posthumously inducted into the Songwriter's Hall of Fame on June 12, 1996.

*(Source – Wikipedia)

The Heart of My Guitar - Part 5: My First Gig

By the time I was fourteen, I had already formed my own band.  It consisted of three members: my friend Freddy, from Jr. High School, played bass.  My cousin Jack, Jr. played drums, and then, of course, there was me, on lead guitar.

In no time flat we had learned three songs.  The first song we learned was “Smoke on the Water” by Deep Purple.  It was the first rock song that I had learned how to play, so everyone else just went along.  Then we learned how to play “Get Ready,” as done by Rare Earth, (not the Temptations’ version).  We were feeling out our rock groove at that time.  Also, you didn’t need a lot of other musicians to actually play a real song when you played rock music.  The R&B tunes all seemed to have horns, strings,  keyboards, congas, vocal overdubs – way too many things that we didn’t have.  So, we played rock because it was easier (and because we really liked it).

I couldn’t figure out how to play any more popular songs that would sound okay with just bass and the drums.  We figured we needed to learn at least three songs so that we could play at our first gig.  Oh, I didn’t tell you - Freddy, our bass player, had somehow convinced someone at a neighborhood elementary school that he was in a band and that we would be happy to play at a fundraiser that the school was giving.

I was furious.  Nobody would want to hear a band play just two songs, right?  Of course not, that would be ridiculous – even if we did stretch each song out to last fifteen minutes each, including the ten-minute drum solo by Jack, Jr.  The fact was, we needed one more song.  I had announced that we were not ready to play out in public.  But Freddy and Jack, Jr. convinced me that everything would be fine if we just had one more song.  Those two were not going to let me talk them out of this big opportunity for us to jumpstart our careers.  Besides, we were gonna get paid!  Fifteen dollars wasn’t bad for a first gig, we had concluded.  Heck, that was five bucks apiece, and we would be getting some much needed exposure. The gig was coming up soon and our backs were against the wall, so I did the next best thing in finding us our third song.  I made one up.

I remember introducing my original song to the band. I couldn’t believe they actually liked that kooky thing.  Amazingly, it seemed like other people liked it, too.  Well, I just couldn’t believe it, so I chalked its popularity up to the fact that I was a young kid playing the guitar and that everybody thought it was cute that this youngster had written his own song.  My cousin seemed to like it the most.  It didn’t even have a name.  We just referred to as “the original tune.” I believe that if I asked Jack, Jr. today, he would tell me that he still likes that stupid song.  Unbelievable.

So, my big brother, who by that time had gotten his driver’s license, drove us to our gig at the elementary school.  We unloaded our gear from the back of Dad’s station wagon and set up inside what now seems to me like it might have been the cafeteria, only without all of the tables and chairs.  We played our three songs, saving “the original tune” for last.  A grateful throng of twenty or so little kids  and a handful of parents and teachers applauded as though we might turn out to be the next Jackson Five.  I was shocked.  They loved us! Or did they?  Were they just being polite because we were kids?  I was confused.  To me, we had always sounded like a young-kid-crap-group.  I think it was here, that my chronic perfectionism and live-performance anxiety all began. (More later on that). Nonetheless, it still felt pretty good to hear people clapping for us, even if it was just some little kids and their proud parents.

We collected our gear, received our five-dollar paydays, and proceeded to start planning out our future and how long it would take for us to make it to the big time.  A year, tops was what we had figured – unless we got a big break, that is. If you looked into our starry eyes, you would have seen that it would have only been a matter of months, before we would be on tv.

We soon realized that we needed something more to fill out the sound.   We had decided that we could never get anywhere unless we expanded the band.  We needed another instrument.  Thank God my brother had taken piano lessons when he was younger.  Already, things were falling together.

As my brother drove, Freddy and Jack, Jr. raved about our performance all the way home. We had urged my brother to be our new keyboardist.  By the time we reached the front door, my big brother had joined the band.  We were on our way! Now all we had to do was figure out how to find the money to buy a keyboard - and then hope that we could find some more songs that were easy enough for each of us to play.

G.

(This is the fifth installment of a continuing story).

The Heart of My Guitar - Part 4: Dream Guitar

My father had still been taking me to my guitar lessons with Mr. Hess, and according to him, I was learning at an incredibly rapid pace. In fact, the two of them had decided that I had finally reached the skill level that justified me being able to purchase an electric guitar.  The new ones at the Towson music store where Mr. Hess had taught were still too expensive for my father to afford. So, off we went to Highlandtown to a place on Eastern Avenue called Petro’s Music Store.  I had never been there before but somehow I just knew that there would be a used Fender Stratocaster there, just for me.

We entered the music shop to the sound of cowbells clanging against the back of the door. The place was dingy and dated. Musical instruments of every sort were crammed into every available space. There were no more than three customers inside at any one time during our entire visit.  Saxophones, harmonicas, bongos, tambourines, and banjos - these were just a few of the many instruments that cluttered Petro’s Music Store.  

You name it, Petro’s had it. It was like an indoor, musical flea market. 

We inched our way through the narrow aisles, my father stopping occasionally to marvel at some obscure instrument that neither of us had ever seen.  The elderly storeowner led the way, scooting his cat away from his more prized musical items. Eventually we reached the guitar section of the store.  It was slightly more organized and was a tad roomier.  My eyes sparkled at the sight of all those guitars. I thought to myself, “There’s got to be at least one Strat in here.” Sure enough, there it was - candy-apple red, two-toned sunburst, with maple fretboard, and it came with a hardshell case with the name “Fender” emblazoned across its body for all of my friends to see and envy. A large white paper tag dangled from one of the many knobs on my dream guitar.  In hand-written blue ink, it read:  SPECIAL! $150.00 (case included).

I watched my father take Mr. Petro aside, instructing me to look around and take in all there was to see.  I complied, scanning the many beautiful shapes and sizes of all the guitars. Red ones, black ones, white ones, blue ones – they all captivated me.  At that moment it seemed as though that dingy old store had magically transformed into a musical fantasyland.  It was as if the guitars had all come to life, like the way puppies in a pet shop window perk up when passersby stop and admire them. Each and every model seemed to have its own personality, its own spirit - its own heart.  But even as I took in the beauty and awe of such a collection, all the while I knew that there was only one guitar for me.  It was that candy-apple red, two-toned, sunburst Fender Stratocaster, with the hardshell case included - for one hundred and fifty dollars. When my father and Mr. Petro returned from their little chat, I crossed my fingers and awaited the verdict. After much coaxing by the gentle store owner, and more rationalizing by my father, I accepted the fact that I was not going to walk out of that store with my dream guitar.

  

“Take a look at this one, here,” the old man said.

He placed one spindly leg above the other and climbed onto a rickety step-stool, pulling down a well-used white, solid-body electric guitar. The neck looked like It had been hand-painted black, and there were some areas where the paint had chipped off.  Also, a thin layer of dust had gathered around the tuning keys at the top of the neck. The man peered over the top of his glasses, observing the brand name of the guitar.

“This is a very popular model in Europe, and it plays just as good as any one of those big name guitars you see in here.”

At first I did not believe him. But when he handed the guitar over to me, there was magic in his eyes. His passion was sincere, and there was no mistaking the fact that he loved those instruments. He passed the guitar to me the way a nurse hands over a newborn to its mother. At that moment, I claimed that old guitar to be mine. It bears the name “Hagstrom,” a name which, at the time had never been heard of by any of the musicians in my circle. I am now proud to say that I still own that guitar today, in spite of the occasional snickers and grins that I would get from my youthful friends.

I have since bought other fine guitars, including a Gibson Les Paul Standard, and a Takamine, classical electric, (currently my favorite). Although I now have the good fortune to afford a Fender Stratocaster, I have never purchased my dream guitar. I don’t know exactly why that dream has faded. Even more perplexing to me is the fact that I have not played my old Hagstrom in at least thirty years. But I do know this much - if my father were alive today, I would play that old guitar, and play it strong and proud – and I would play it just for him, and no one else.  That much, I do know.

G.

(This is the fourth installment of a continuing story).

Stevie Wonder - Birth of a Legend

Stevie Wonder is 61 years old today.  I am so grateful to be living during the time that he has been able to bless the world with his incredible talent.  He is quite simply a tremendous gift from God to us all. It is impossible to measure what his contribution to music has been, and continues to be. How does one even begin?  We all have a special Stevie Wonder place in our musical hearts, so I will simply allow each of you to reflect on what his music has meant to you individually.  I mean, really, what else can you do?

Anyway, check out this performance of Stevie playing what I believe is my favorite song (at this particular moment) by Stevie.  I say "at this particular moment" because if I wait another five minutes, I will recall a different favorite song, and then if I were to wait another five minutes, I will recall another favorite song, and so on.  That could literally go on for hours. Yeah, really! You try thinking of what your favorite Stevie Wonder song is and see what I mean!

    

And now, on with the quiz! No cheating! If you really know your Stevie, you should do pretty well on this without having to peek at the answere.  Good Luck!

1)         What is Stevie Wonder’s full birth name?

2)         Where was Stevie Wonder born?

3)         What is the name of Stevie Wonder’s first major hit?

Extra Credit:  How old was he when the song was recorded?

4)         This popular song is the only hit that Stevie made to ever reach number one on each of the following charts: The Billboard Hot 100, Hot R&B/Hip-Hop Songs, Adult Contemporary Music, and The UK Singles Chart. Name that tune.

            Hint: The answer is not “Superstition.”

5)         “Superstition” and “You are the Sunshine of My Life” were two number one hits that were released from the same album.  Name it.

            a) Talking Book

b) Innervisions

c) Songs in the Key of Life

Answers to the Trivia Quiz:

Okay, let's see how you did!


Ready?

1)        Stevie Wonder was born in Saginaw, Michigan

2)        Stevland Hardaway Judkins.  His name was later changed to Stevland Hardaway Morris, which is his legal name to this day.

3)        Wonder was 13 when the hit "Fingertips (Pt. 2)",  was released in 1963.  It was taken from the live album called Recorded Live: The 12 Year Old Genius.  Wonder played, bongos, and harmonica, while a young Marvin Gaye played drums.

4)        I Just Called to Say I Love You

5)       The answer is a), Talking Book. .  "Superstition" and "You Are the Sunshine of My Life," were both number one hits from this album which also features Jeff Beck, David Sanborn, and Ray Parker, Jr.

            Did you get’em all right? If so, congratulations!

The Heart of My Guitar - Part 3: Sunshine

The first song I learned to play on the guitar was “Sunshine,” by Jonathan Edwards.  It wasn’t exactly my idea of the kind of song that I had thought might make me the popular guy in school. I had hoped to learn something by George Benson, or Jimi Hendrix, or even something that was at least on the R&B charts.  My instructor, Mr. Hess had promised me that “Sunshine” was a big hit, and that learning to sing and play it (simultaneously) would be an invaluable skill for me down the road.  I had never once heard the blessed song on the radio, and I simply didn’t believe him.  But even though it was a song that I didn’t want to play, and surely did not want to sing, I had to admit that I was proud of the fact that after only one lesson, I could actually play it.  

One day, on the way home from my lesson, my father pushed one of the buttons on the car radio that had been preset to one of the local white stations, as he would sometimes do.  I had always liked the fact that he appreciated all kinds of music. Whether the artist was black or white never mattered to him.  He liked music that entertained him.  He loved the richness in Johnny Cash’s voice as he sang “A Boy Named Sue,” just as much as he loved the soul-stirring elegance of Dinah Washington’s “September in the Rain.” My father would enjoy any music in which the artist displayed quality and sincerity.  So when the familiar open-chord strumming of Jonathan Edwards’ “Sunshine” came through the single radio speaker on the dashboard of the station wagon, I was not surprised to see Dad happily tapping his fingers on the top of the stirring wheel as we cruised down York Road.

“Sunshine go away today, I don’t feel much like dancing … “

I visualized the fingering positions of the chords to the song that Mr. Hess had taught me.  After a silent debate with myself, I waited for the tune to end, and drew a deep breath and exhaled.

“I can play that song,” I muttered.

Just as I had figured, my father couldn’t wait to get me home and hear me play it. I, on the other hand, was not so anxious. This is because I had already evaluated the extent of my father’s musical capabilities, and I knew that the song would be unrecognizable to him unless I provided the melody and lyrics.  For me, singing out loud was, still is, and probably always will be a frightening proposition for me. My siblings would have had no mercy on me if they were to have ever heard me singing that song. But I wanted desperately for him to see that I could play it.

When we arrived at the house, I sheepishly retrieved my guitar from a closet in my room and took it out of the cardboard case.

“Okay, son.  Let’s hear what you got!”

Again, I took a deep breath.  My palms were suddenly cold and clammy. I ignored this and began to strum.  Three minutes later, I had finished playing the song in its entirety, having never uttered a single word of the lyrics. My father’s response was lukewarm.

“You’re getting pretty good there, kid. You need to sing along, though …”

To this day, I am still too shy to sing. It would not be until about thirty years later that I would realize and understand that my fear of singing had turned out to be the primary reason that I adopted the “finger-style” method of playing that I currently employ.  Instead of using a pick, I now use all of the fingers on my right hand to play, giving me the ability to simultaneously strum the chords, finger the melody, while thumbing the bass line to many classic songs that are conducive to this particular style of guitar playing.  I am by no means a master at this technique, but it brings me joy in knowing that I have achieved a respectable level of skill at it. Funny how life can bring you something good even when you think you’ve failed.  Guess it’s all in how you look at it.

G.
(This is the third installment of a continuing story.

This Week’s Notable Birthdays in Jazz and Popular Music History

05/01/1954 - Ray Parker Jr, Detroit Mich, R&B, funk, jazz, pop guitarist/vocalist (Ghostbusters)

05/03/1933 - James Brown, Godfather of Soul

So you think you know James Brown? Take the James Brown Trivia Quiz!  (Grab a pen and paper and write your answers down before scrolling to the bottom of the page so you that you don’t see the correct answers before you’ve finished).  Good luck!

1)      What was James Brown’s full name?

2)      We all know James Brown as the Godfather of Soul.  Name at least two other nicknames that he was known as during his career.

3)      Where was James Brown born?  Here’s three choices:

a) Fayetteville, N.C.,

b) Augusta, GA.,  

C) Barnwell, S.C.

4)  In 1965, James Brown released two records, both of which marked the first of his many hits to reach #1 on the R&B charts.  Name these two hits.

5) James was extremely involved in social activism for civil rights. The day following the assassination of Martin Luther King, Jr., Brown’s status was so dominant that he gave a live television performance of a concert that was rebroadcast multiple times on that day. The mayor of the city had arranged for the rebroadcasts so that people would stay inside to watch the concert for free, rather than contribute further to the heat of the riots that were rampant at that time.  In what northeast U.S. city did Brown give this performance?

Bonus Question – “It Takes Two” is a song performed by Rob Base and DJ E-Z Rock that has had mass popularity ever since the day it was released.  It was also created by “sampling”  a popular hit that was produced by James Brown in 1972, and features one of his female vocalists who sings the main chorus, “It takes two to make a thing go right …“

Name the original song and the vocalist who sang it.

05/04/1916 - Maurice "Moe" Purtill, jazz drummer –Glenn Miller Orchestra

05/04/1928 - Maynard Ferguson, Verdun Quebec, jazz trumpeter

05/04/1938 - Tyrone Davis, US R&B singer (Turn Back the Hands of Time)

05/04/1942 - Nickolas Ashford, Fairfield County, S.C., singer (Ashford and Simpson - Solid as a Rock)

05/05/1934 - Johnnie Taylor, Crawfordsville, Arkansas – R&B, blues, soul, gospel singer (Who’s Making Love)

05/06/1921 - Freddy Randall, English jazz trumpeter

05/07/1939 - Jimmy Ruffin, Collinsville, Mississippi - vocalist (What Becomes of the Broken Hearted)

Trivia Answers:

1)      James Joseph Brown, Jr.

2)       Soul Brother #1, The Hardest Working Man in Show Business, and the King of Soul.  He was also referred to as Mr. Dynamite, and Mr. Please, Please, Please, Himself.

3)      The correct answer is “C” - Barnwell, South Carolina

4)      Papa’s Got a Brand New Bag / I Got You (I Feel Good)

5)      Boston, Mass. 

Answer to the bonus question: The name of the song is “Think (About It)” and features the late female vocalist, Lyn Collins.

The Heart of My Guitar - Part 2: Hole in My Heart

Mr. Hess greeted my father as though they had been friends for years. They shook hands and immediately turned all of their attention to deciding what type of guitar would be best for a twelve year-old boy who, in my father’s eyes, would likely be throwing his hard-earned money away on yet another childish whim, to be abandoned in a matter of weeks.  Even at that young age, I was determined to prove him wrong.

There must have been at least a hundred guitars there. The prices ranged anywhere from forty dollars to four hundred dollars.  Some cost even more. Before I could even begin dreaming of which of the fancy electric guitars I would settle for, I was immediately escorted to the section of the store that contained the guitars with the hole in the middle.  My father was elated to hear Mr. Hess affirm that the fancy guitars were not appropriate for me as a beginner, and that I should upgrade only when my skill level had sufficiently increased. After an in-depth inspection of the size of my hands by Mr. Hess, and a thorough interrogation from my father as to the quality and value of the instrument, they settled on an ordinary-looking undersized, folk guitar that they had agreed was just right for me.  Final cost after taxes, and including the flimsy, cardboard case: approximately forty-two dollars.

Mr. Hess pulled the guitar down from the hanger, gave it a quick tuning and had me assume a playing position, placing the guitar on my knee. He confirmed that the guitar was the proper fit. It felt awkward and unnatural in my hands but I was anxious to learn to play it. Mr. Hess then pulled a tiny, triangular piece of plastic from his pocket that had the name “Fender” stamped on it. 

“Hold the guitar pick like this. Now bring your other hand up here on the neck of the guitar and press your finger right here on this string.” 

My father watched this process intently, making certain there was no insincerity in my desire to go through with this business of learning to play the guitar.  At the same time, he was admiring the intricacy involved in getting the thing to produce a sound.  I struggled to press the thin wire down without touching the other strings, as my teacher had instructed.  It seemed impossible to do at first, and the tip of my finger smarted from all the effort.

“Now, use the pick to strum the bottom three strings.”  

I positioned my pick so as to be sure that I would only strum the strings that I was told to play. The three notes rang out in clear unison, and I immediately recognized the three-part harmony.

“That was great Gerald! You just played your first C major chord.”

My father’s eyes widened with enthusiasm.  

“What do you think, son? Do you like it?”

At first I didn’t like it. I wanted a cool guitar – a red one with knobs on it and a “whammy bar.” Mine was the cheapest guitar in the store.  It wasn’t electric, like I had hoped for. It had a hole in it.  I don’t even think it had a brand name.  But there was something about that experience with my father that brought a joy to him unlike any that I had ever seen. I didn’t understand it, but I knew it was from the heart, and that made me feel special. Later it all became clear to me. He had known that the guitar he had bought for me was not the one that I had wanted.  But it was the only one that he could afford. He had done his best to make me happy. That alone had made me happy.  He had bought me a guitar, and it was brand new, with its own case - and it was mine.  And by the time he pulled the station wagon in front of our northeast Baltimore rowhouse, I didn’t just like my new guitar, I loved it.
G.
(This is the second installment of a continuing story).

This Week in Jazz History – Notable Birthdays and Departures

Birthdays

04/25/1917 - Ella Fitzgerald, Newport News VA, jazz singer (A-Tisket, A-Tasket)

04/25/1923 - Albert King, Mississippi, blues singer/guitarist (Born Under a Bad Sign)

04/25/1946 - Digby Fairweather, British jazz cornetist

04/26/1904 - William "Count" Basie, jazz pianist (Policy Man, Blazing Saddles)

04/27/1927 - Connie Kay, jazz drummer

04/28/1947 - Steve Khan, jazz musician (Christmas Waltz)

04/29/1899 - Duke Ellington, Wash DC, [Edward Kennedy], bandleader (Take "A" Train)

04/29/1908 - Philippe Brun, jazz trumpeter

04/29/1922 - Toots [Jean] Thielemans, Belgian/US jazz musician/composer

Other Notable Birthdays/Deathdays

04/25/1952 - Cory Daye, Bronx NY, rock vocalist - Featured above in this terrific video. Here is Cory performing as the lead singer of Dr. Buzzard's Original Savannah Band. You gotta love this!

04/26/1991 - Carmine Coppola, composer/father of Francis Ford Coppola, dies

04/27/1932 - Casey Kasem, Detroit Mich, radio personality (American Top 40)

04/30/1933 - Willie Nelson, Abbott Texas, country singer (On the Road Again)

Deaths in Music

04/25/1990 - Dexter Gordon, Jazz saxophonist, dies of kidney failure at 67

04/26/1984 - William "Count" Basie, jazz piano great, dies on 80th birthday

04/30/1984 - Muddy Waters, blues singer/guitarist (Hoochie Coochie Man), dies at 68

The Heart of My Guitar

Part 1 - Julia

It all started when I was about twelve years old.  I don’t think there was any specific thing that drew me to the guitar.  There was no sudden epiphany. There was no specific artist that I wanted to emulate, not at that time anyway.  But I do recall having an almost clandestine desire to play an instrument of some sort.  The guitar just seemed like something that my parents might have been able to afford, and no one else in my family played that instrument.  For me, that was important. My older brothers and sisters had all taken piano lessons and could play with varying degrees of proficiency, although none of them were what you’d call “good” at it. You see, growing up in the sixties, many parents still required that someone in the family take piano lessons, whether they wanted to or not.  I remember thinking that if I was ever given that chance, I would play it, and be good at it, too.  However, when I came of age, that tradition had come to an end in our house.  I never did learn to play the piano.  

I was just a kid when I realized I was in love with music.  I was about six when I began to feel a connection to songs that touched my soul.  By the time I was ten, someone had bought a 45 rpm record by Ramsey Lewis. I remember that the “B” side had a song called “Julia.”  I instantly fell in love with this song.  I also fell in love with Julia, whoever she was. I imagined how beautiful she must have been, and longed to meet her some day.  I played that record until it warped.  That’s how much I loved music. But I was terribly shy and I decided to drop the idea of piano lessons.  My first wrong note would have brought on heckling from my siblings that could have lasted weeks, months - or a lifetime.  Being born smack in the middle of seven wasn’t exactly the best ranking to have in a family where making fun of each other was the daily pastime.  Eventually, I grew into my role as middle-child. We were one, big, almost-poor, struggling family, but we were in it together, and I came to accept that having fun with each other was our way of getting through the rough times.  Still, I had made up my mind that there was no way I was going to ever let them hear me stumble my way through “Chopsticks.” No way.
 

So one day, I said to my father, “Dad, I want to play the guitar.” 

A week later, my father took me for a ride in the Ford Country Squire station wagon.  And when we parked the car and headed into the music store inside the Towson Mall, I had thought I was merely tagging along with him on another one of his grown-up errands.  There, guitars of all shapes and sizes dangled from the ceiling, suspended like ornaments in a life-size mobile.  My father politely introduced me to Lester Hess, a very nice man with a friendly, non-threatening moustache, whom I was surprised and delighted to know would become my very first guitar teacher.

G.

(This is the first installment of a continuing story).

Earl Klugh’s Weekend of Jazz 2011 – Bringing a Different Kind of Cool to Colorado

If you’ve ever vacationed in Colorado Springs and witnessed the natural beauty of Pike’s Peak, Colorado's most noted mountain, nestled in the heart of the Front Range of the Rocky Mountains, and then taken in the scenic wonder of the awesome sandstone formations at the Garden of the Gods, you would surely consider that experience to be one of the highlights of your trip.  If you happened to stay at The Broadmoor Resort while on that vacation, your  experience just got twice as good. If while staying at The Broadmoor, you also got to see live music performances by such jazz greats as Earl Klugh and David Sanborn, your vacation just became priceless.

Such was the case at The Broadmoor’s Weekend of Jazz that took place over this past weekend. Earl Klugh began hosting this elaborate production in 2004 after teaming up with the late cofounder and former Vice President of Sales and Marketing, Mike Dimond.  The two of them put their heads and hearts together to create what is now an annual event that not only features the finest jazz artists in the world, but also displays them on a stage located in one of the most fabulous settings that performers and music fans could possibly ask for. The Broadmoor pulls no punches when it comes to satisfying its guests and living up to its five-star rating.  It is impeccable in its presence and stature, boasting world-class everything; championship golfing, exquisite dining, and spa amenities that are the standard by which other hotels rate themselves.

Over the years, Earl has brought some heavy-hitters into the Broadmoor spotlight, such as Chuck Mangione,  Al Jarreau, Fourplay, Roberta Flack, Ramsey Lewis, Bob James,  Boney James, and Patti Austin, just to name a few.  Last weekend, he showed that his own musicianship only gets better with time as he delivered a stellar performance, even while tackling all of the responsibilities of organizing and hosting the production.   He continues to elevate and expand the listening audience with each event.  This year’s concert was kicked off on Thursday night with a performance by the sultry Nnenna Freelon, who performed at one of the resort’s more intimate venues where fans could really get a good feel for just how special this savvy lady truly is.  Friday night, the incomparable David Sanborn took the stage, accompanied by Joey DeFransceco on keyboards. Do I really need to say anything more about these two? Okay, Sanborn is legendary.  I could be here all night talking him up.  But if you haven’t heard of Joey DeFrancesco, trust me when I tell you this – you will.  His Hammond B-3 chops left me mesmerized, and his honest passion for the music sets him miles beyond any other Jimmy Smith wannabes out there today.  This cat is the real deal.  Rounding out the evening, Brian Culbertson brought his energetic, contemporary style of smooth jazz to the stage, leaving the crowd pumped up and anxious to hit the resort's after parties to keep the good times rolling.

. 

Saturday night, Earl Klugh led off the night and wowed the audience with a masterful performance of the theme to the James Bond movie classic, “Goldfinger.” It was a wonderful surprise to see Gene Dunlap at the drums, sounding as crisp and clean as ever. For me, it brought back memories of so many wonderful selections that he had played drums on during the early days, such as my personal favorite, Magic in Your Eyes.  Klugh was then followed by the soulful stylings of veteran crooner Peabo Bryson, who provided a powerful finale, and was accompanied by an outstanding female vocalist, Kim Price. 

Okay, let's face it. Staying at a joint like this is going to set you back a few bucks.  This ain’t no Motel 6, you know.  But each year, the Weekend of Jazz offers packages that includes choices of either two-night, or three-night accommodations.  These packages also include tickets to the performances, along with a variety of free activities that often feature up-close and personal interaction with the artists, discounts on other resort amenities, and occasionally, there are other little unspoken perks that are quietly thrown in just for staying at a schmoozy joint like this. All things considered, the cost is not as extravagant as it might appear to be at first glance.  Besides, we’re not talking about doing this every other weekend, right? So you’ve got a whole year to start rolling your pennies for next year’s show.  Do yourself a favor.  Treat yourself to the treat of a lifetime and visit www.weekendofjazz.com.

By the way, if you just can’t wait until next year to get your jazzy weekend started, Klugh will be hosting his second annual Weekend of Jazz at the Kiawah Island Golf Resort in South Carolina this fall.  Last year’s event was held at The Sanctuary, an equally luxurious resort. Just don’t wait too long to book your stay.  The first event was nothing short of fabulous. The second one is sure to sell out fast.

G. 

This Week in Jazz History – Notable Birthdays and Departures

Birthdays

04/10/1950 - Eddie Hazel, US pop guitarist (Funkadelic-Uncle Jam Wants You)

04/13/1906 - Budd [Lawrence] Freeman, US jazz saxophonist (Eel)

1942 - Bill Conti, Providence RI, composer (For Your Eyes Only, Rocky IV)

1946 - Al Green, Forest City Arkansas, singer (Lets Stay Together)

1951 - Max Weinberg, rock drummer (E Street Band, Conan O'Brien Show)

1951 - Peabo Bryson, Greenville SC, RandB vocalist (I'm So into You)

1955 - Louis Johnson, LA Calif, rock bassist/vocalist (Brothers Johnson)

04/16/1924 - Henry Mancini, Cleveland, composer/conductor (Pink Panther)

1930 - Herbie Mann, Brooklyn NY, jazz flute/sax (Just Wallin')

1935 - Haskell "Cool Papa" Sadler, blues singer/guitarist

Other Notable Birthdays

04/16/1935 - Bobby Vinton, Pitts Pa, singer (Roses are Red, Blue on Blue)

04/16/1947 - Gerry Rafferty, Paisley Scotland, guitarist/vocalist (Baker Street)

04/16/1971 - Selena [Quintanilla], tejano vocalist

Special Events

04/12/1989 - 3rd Soul Train Music Awards: Anita Baker

04/12/1990 - James Brown moves to a work-release center after serving 15 months

Deaths in Music

04/10/1958 - W C Handy, composer/musician, dies at 84 in NY

1994 - James L Lyons, jazz promoter, dies at 77

1962 - Stuart Sutcliffe, bassist (Beatles), dies of brain hemorrhage at 21

14/14/1996 - Gaylord Birch, drummer (Pointer Sisters, Herbie Hancock), dies at 50

04/16/1992 - Andy Russell, drummer/vocalist (Your Hit Parade), dies of stroke at 72

1996 - Raymond Earl Hill, saxophonist, dies at 62

This Week in Jazz History - Notable Birthdays & Departures

04/01/1895 - Alberta Hunter, blues singer/composer (Downhearted Blues)

04/01/1954 - Jeff Porcaro, LA Calif, drummer/percussionist (Toto-Roxanne, Africa)

04/02/1943 - Larry Coryell, Galveston Tx, jazz guitarist (11th House)

04/02/1939 - Marvin P Gaye Jr, Wash DC, singer (Sexual Healing)

04/04/1915 - Muddy Waters, [McKinley Morganfield], guitarist (Hoochie Coochie Man)

04/04/1939 - Hugh Masekela, Wilbank South Africa, trumpeter (I Am Not Afraid)

04/05/1934 - Stanley Turrentine, jazz saxophonist (Wonderland)

04/06/1927 - Gerry Mulligan, British saxophonist/orch leader (Jazz on a Summer Day)

04/04/1938 - Freddie Hubbard, Indianapolis, jazz trumpeter (Art Blakey)

04/08/1920 - Carmen McRae (Clark), US jazz singer/pianist (Dream of Life)

Other Notable Birthdays

04/01/1939 - Rudolph Isley, Cincinnati Ohio, rocker (Isley Brothers-Shout)

04/02/1941 - Leon Russell, Lawton KS, pianist/singer (Carny)

04/03/1961 - Melissa Etheridge, rock guitarist/vocalist (Come to My Window)

04/03/1944 - Tony Orlando, NYC, singer (and Dawn-Tie a Yellow Ribbon)

04/03/1938 - Philippe Wynne, US soul singer (Detroit Spinners, Ghetto Child)

04/03/1942 - Wayne Newton, Roanoke Virginia, singer (Danke Sch”n)

Deaths in Music

04/01/1917 - Scott Joplin, ragtime composer (Sting), dies at 48

04/02/1987 - Buddy Rich, drummer/orch leader (Away We Go), dies at 69

04/03/1990 - Sarah Vaughn, jazz singer, dies of lung cancer at 66

04/02/1995 - Julius Arthur Hemphill, saxophonist, dies at 57

04/06/1971 - Igor F Stravinsky, Russ composer (Le Sacre du Printemps), dies at 88

Gerald Veasley - Remembering the Sound of Philly

There are so many things to like about the Berks Jazz Fest.  Personally, I like when I can leave my hotel room at 9:50 p.m. to go see a 10:00 performance, arrive at the venue at 9:55, and be in my seat in time for the show.  Afterward, I can shake hands with the artists, and venture into the hotel jazz club for a libation or two.  Then, when I am all jazzed out, I can take the elevator back up to my room and call it a night. No hassles exiting crowded parking lots, no porta-potties to contend with, no mosquitoes to swat at, no 90 degree heat, no designated driver needed, and no dropping off your drunken, tag-along friend who can’t remember how to get back to his own house. Just enough energy to push that elevator button is all I need.  Now, that’s living.

Saturday night at the Crowne Plaza Hotel Reading, Gerald Veasley and a few of his friends got together at the hotel ballroom and gave the audience a performance that explains exactly why this jazzlover’s spring fling has gotten increasingly popular since the day of it’s inception, 21 years ago.The versatile bass player led an act that paid tribute to the “Sounds of Philly,” taking the audience back to the time of the 70’s and early 80’s which marked the era when the unmistakable “Philly” sound was at its peak.  Joined by Walter Beasley, Nick Colionne, Carol Riddick, and Will Downing, the band performed a nice mixture of the most popular classic R&B tunes of the day, and flavored them with their own personal styles to create an innovative groove that kept the crowd hand-clapping to the MFSB favorite “Soul Train,” and providing back-up vocals while Will Downing took the lead on “People Make the World Go Round.”  Walter Beasley was masterful as he performed Grover Washington’s timeless classic “Mr. Magic.”  His delivery reminded me of just how much Grover was loved and respected by his fellow sax players.  Nick Colionne did a nice job of taking on Eric Gale’s signature guitar riff throughout the song.   A great showman as well as guitarist, Colionne kept the evening light, entertaining the crowd with his playful interaction with the band members.  Gerald Veasley added a nice touch to the concert by dedicating his version of “Ain’t No Stoppin’ Us Now” to the memory of the late Wayman Tisdale.

When Carol Riddick first took the stage I had not heard her before and had no idea what to expect.  Let me assure you that I know who she is now. Folks, this girl has got some pipes. Her voice features depth and power, and she possesses exceptional control which allows her to range out with fearless emotion, and then fade back to a whisper without losing clarity or pitch.  I’m looking forward to seeing more of Ms. Riddick.

Gerald Veasley, or “Mr. Veasley” as his musician friends affectionately call him, settled the crowd in, as though we were all invited to his own private party.  He is a natural at directing the flow of a concert.  Music is still a business and even the finest musicians still need someone to be in charge once they hit the stage.  Much like Marcus Miller, Veasley is the consummate bandleader. Watch him closely.  He manages the stage, making sure everyone hits their cues and stays in the moment.  And when it’s his turn to shine, he's intense but  remains poised.  He’s not flashy, he’s just good. Damn good.

After it was all over, I shook hands with the artists, made a few new friends, and drank my fill of bourbon and beer at Gerald Veasley’s Jazz Base.  Tired and all jazzed out, I headed for the elevator and pushed the button, after which I found myself fully enjoying my ten-second ride home.

G.  

Today's Big Birthdays in Music

George Benson - Legendary Jazz Guitarist - 1943

Stephanie Mills - Dynamic singer and performer - 1957

Earl Klugh - Blues Alley: Washington, D.C.

I know a lot of people who know the name, know the music, and know the way it makes them feel when they hear the unmistakable soft touch that Earl Klugh adds to almost every song he embraces.  We think of our favorites like, Heart String, Living Inside Your Love, or Wishful Thinking. We place the cds in the changer, turn the lights down low, snuggle up with our sweethearts, and melt into the loveseat while the flames in the fireplace do an exotic dance to the gentle rhythms.  Not a thing wrong with that, right?

Right!  That’s just the point.  The only thing wrong about that, is that I have run into some fans who have this misguided idea that if they were to attend an Earl Klugh concert, they might expect to see a sleepy, lackluster, event that makes you think of being in bed on a rainy day with the covers pulled up over your head.  Here is the truth. When you go to an Earl Klugh event, you are going to have a good time.  A really good time.

First of all, we all know that the man has created some beautiful music with that guitar.  But after having put out thirty albums, you may have forgotten that Klugh possesses a full showcase of music that reveals some extraordinary creativity that fuses his melodic style with latin-oriented syncopation, reggae-based dance music, and songs that have a funk-tinged R&B flavor.   While it is always pleasant to hear him perform Dream Come True, the joint livens up when he launches into some of those songs that have attitude and sass like, Midnight in San Juan or Slo Boat to Rio. Remember, we’re talking about the same guy who has done stints with George Benson and Return to Forever. Heck, David Lee, who has played keyboards with him for the past fifteen years or more, was one of the original members of the Parliament-Funkadelic cast.  Remember the tune, Atomic Dog? David was the mastermind behind that monster hit. Listen, I’m not trying to tell you that when you attend one of Klugh’s concerts you’re going to see fog machines, strobe lights or spaceships landing on the stage, but I will tell you that at some point you will find yourself clapping and moving in your seat to the groove.

Earl Klugh will be at Blues Alley tonight and close things out tomorrow evening for the finale.  So if you’ve always been a fan, but never been to a concert, check him out and enjoy watching a true master at the acoustic guitar put on a display that will leave you totally satisfied, energized and saying “Wow, that was a great concert!”

G.      

Tribute to the 60's and 70's

I find it interesting to look back in time at certain events and recall or imagine what the cultural climate was like, and then analyze what impact those events had on the mood of the music artists of that era. 

Of all the decades of the twentieth century, the music of the 60’s and the 70’s is most intriguing to me.  With the emotional conflict that swelled within the country surrounding racism and the struggle to obtain civil rights, I believe the passion that arose from that conflict eventually boiled over, as black people and white people simply got sick and tired of being emotionally imprisoned by their inability to diffuse this nonsensical, misguided line of thinking as to what makes people different from one another.  As that pot boiled over, it boiled for just the right amount of time, under just the right environmental conditions whereby it produced a distillate that crystallized into a priceless collection of what is now widely recognized as arguably the most innovative, emotionally-driven, and most “soulful” popular music of all time. So much turmoil had erupted from deep within the average man and woman that eventually something had to give.  Artists of every genre seemed to express themselves more passionately than ever before. But it was music, particularly from the younger generation, that spoke the loudest and the truest. The insanity of the continual racial divide had taken its toll on everybody.  Enough, already.

Forty-plus years later, here we are – all of us, still trying to get over it.  After having endured so much pain and heartache brought on by widespread riots, heart-wrenching assassinations, and let us not dare dismiss that other senseless horror of the day, the Vietnam War – who would have ever guessed that something so indescribably wonderful could have ever resulted from so much tragedy, mayhem, and sadness?

I love all music from all generations. I find it all to be incredibly fascinating.  But I don’t think there will ever be another era of music that will have the staying power or the emotional impact on people than the music that evolved during that particular crazy, mixed up time in our American history.  Remarkably, the music of the 60’s and the 70’s continues to routinely touch lives to this very day, with no signs of letting up.  I have a feeling that the last man on earth will know at least one song by either, Stevie Wonder, The Beatles, or The Temptations.  Perhaps, the fact that I experienced my youth during those days has left me with a bit of a baby-boomer bias. But somehow I just can’t see Justin Bieber, Lady Gaga, or Lil’ Wayne being on that list.

G.

One of My Favorite Things - EBTG

I love all kinds of music. All it has to do is sound good and make me feel that it truly means something to the artist who created it. It could be jazz, blues, funk, punk, rock, country, gospel, and yes, even hip-hop. (In light, controlled doses, mind you).  But no matter how I start the day out musically, by sundown I always find myself  returning to the romantic stuff. So, go ahead. Sue me.

One day sometime back in the early 90's, I was browsing through a record store looking for something new, fresh, different, and meaningful to put into my new compact disc player. I still find it exhilarating to buy an album by an artist whom I've never heard before, with the hope of finding at least one gem of a song that I would fall in love with, to be played over and over until the end of time. When I came across an album entitled "Language of Life" by the UK-based duo, "Everything But The Girl," I knew I had hit the jackpot. This record is indeed one of my most favorite things.

"EBTG" consists of lead singer Tracey Thorn and guitarist, keyboardist and singer Ben Watt. Together they deliver this album with their own brand of pop-folk, sophisti-coffee shop, adult angst .  The lyrics are personal and sensitive, wistfully painting portraits of  new love, troubled love, and love lost - with a perfectly understated jazzy backdrop. Tracey Thorn sings with no pretentious exaggerations of  emotion, bringing an honesty to each song performance that cannot be denied.  But what truly sets this couple apart from sounding like just another wonderfully quaint, coffee shop act is that this album was recorded using some of the finest jazz musicians in the world.  For starters, Tommy Lipuma produced the album.  He has an endless list of credits for having produced some of the biggest jazz artists in the 70's and 80's.  (You might recall he produced many of George Benson's recordings, including the forever classic Breezin' album). Language of Life also features Omar Hakim on drums, John Pattitucci on bass, Michael Brecker and Kirk Whalum on tenor sax, Russell Ferrante and Joe Sample on piano, Jerry Hey on flugelhorn, and Michael Landau on guitar.

I'll take that lineup any day of the week to play on my record.

Sometimes in life, things just fall right into place and an incredibly wonderful thing results. I believe that the Language of Life album by Everything But The Girl is one of those things - one of my favorite things.
G.

The Royal Scam Prepares for a Royal Slam at the Berks Jazz Fest

Anybody who really knows me knows that if I were asked, " If you could only pick one, who would be your favorite group of all time?" My answer would be short and sweet - Steely Dan.

There is no way I can begin to go into all of the reasons why this group has had such an important impact on so many people, including myself.  But for starters we can attribute their longevity to their dedication to quality. In a sentence, I chalk it up to the airtight musicianship, the crafty lyrics, and the ability to adapt to the ever-changing whims of the music industry, all without ever losing their identity.  There are countless fans of The Dan who would give their first-born just for a chance at front row seats to see them perform live, something that until recently, was practically unheard of.  The two co-conspirators of this iconic band, Donald Fagen and Walter Becker are currently on tour and will be performing at Merriweather Post Pavillion in Columbia, Maryland this summer.  I have been fortunate enough to see them perform on several occasions.  All I can tell you is that I won't ever forget how fantastic it was to experience seeing these legends perform live. For me, nothing will ever top that. (Well, except for maybe that time I saw Stevie Wonder perform a free outdoor concert with full orchestral accompaniment, outside of the Ravens brand new football stadium one sultry, summer night in Baltimore.  That was pretty awesome)!

But, if you want to have a great time with a crowd of like-minded Dan-fanatics, then you have to check out The Royal Scam.  This group, named after one of the Dan's earlier albums, really has a great thing going. First and foremost, they love playing the music of Steely Dan.  This is really what makes it so fun to watch them perform. They don't claim to be anything other than a group of musicians who love the music of Becker and Fagen, and like sharing their love for it with others. They're like a grown-up teen-aged band that finally got really good. As long as you don't go in expecting to see the real thing, (and as a true Steely Dan fan, why would you?), I guarantee you will enjoy the show.  They will be performing at the Berks Jazz Fest:


Royal Scam's Tribute to Steely Dan
Saturday, March 26, 9 p.m., Abraham Lincoln Hotel Ballroom
Tickets: $20

Not only do they play an incredible array of songs, they do a surprisingly good job of delivering the signature nuances of each song in a such a way that brings a believability to their performance that will keep even the most persnickety of Dan-fans entertained. Obviously, the Royal Scam covers the mega-popular tunes like "Reelin' in the Years," and "Rikki Don't Lose That Number." But if you're a Steely Dan fan who knows every word to "Any Major Dude" or "Haitian Divorce," then you will be pleasantly surprised at the song selections that this group is able to pull from their repertoire. They are a friendly bunch who have regular jobs and love performing these songs. They have been together for about 15 years, and the truth is, they are very good!  If you are a fan who would like to have a lighthearted, fun time while reminiscing down Steely Dan lane, then I know you will thoroughly enjoy The Royal Scam. Check them out at: www.royalscam.com

Klugh-less

Every other night, I pick up my Takamine classical electric and practice one of the songs from Earl Klugh's "Naked Guitar" CD.  It is one of my favorite recordings by Earl because the songs he plays are done so beautifully that it becomes a sort of puzzle for me to listen and try to figure out how he manages to play rhythmic bass lines along with the chords and lead melody lines, simultaneously and so seamlessly.  Classic standards such as, 'On a Clear Day," and "All the Things You Are" are done with true spontaneity yet they all contain interesting harmonic twists on his versions that make you go, "Hmmm. How did he do that? I need to hear that again!"

All of the songs on this CD are played solo, without dubs, or other such technical enhancements.  Just naked guitar, as the title says. I've played this CD a thousand times and I'm still shaking my head saying, "Hmmm.  I need to hear that again."  Check out  his version of  "Ding Dong, the Witch is Dead."  But let me give you fair warning:  Be sure to have your finger poised on the repeat button on your CD player. It won't help much in deciphering how he is able to do what he does, but at least you'll be prepared to give yourself the opportunity to pick your jaw back up off the floor.

G.